News Stories

NASCAR Airs Racing Specials In 3D

After TNT offered a NASCAR race in 3D last summer that aired on DirecTV, the satellite operator will carry two racing specials in 3D focusing on a different racing series. The hour-long shows will start Feb. 4 on DirecTV’s dedicated 3D channel, n3D, which has Panasonic as a sponsor.

In lieu of carrying a race live, DirecTV will offer some coverage, but also behind-the-scenes footage and interviews of the final race on the Formula DRIFT circuit in 2010.

DirecTV and the racing circuit are co-producers. Indicating an edited format may allow producers to better capitalize on 3D, DirecTV executive Chris Long stated that the emerging format on TV will “make every counter steer, plume of smoke and wreck feel like it is happening in the middle of your living room.”

The n3D network has offered the MLB All-Star Game and U.S. Open tennis event, as well as entertainment such as “Guitar Center Sessions.”

TNT carried a NASCAR race from the Daytona track last July that aired on DirecTV and several cable operators’ systems and in an online version. ESPN will launch a 24/7 3D network in February and will likely offer some NASCAR car races this season. Also possible is the 100th Indianapolis 500 in May. The race will already be shot in 3D as an IMAX documentary is being made about this year’s version that is scheduled to be released in the fall.

Original post here: http://www.mediapost.com/publications/?fa=Articles.showArticle&art_aid=143838

A strange week for 3D and TV

Several stories emerged this week that TV fans may want to read up on… from a scientific bashing of 3D by two non-scientists to sub-$40 Blu-ray players.

This is the kind of week it’s been in the world of TV and video, with stories not necessarily in chronological order…

First up: The 3D debate got hotter and well, weirder, when Roger Ebert – who has maligned the technology openly in the past – declared the format “inferior and inherently brain-confusing.” To prop up his thesis, he quotes liberally from fellow 3D-denier and award-winning editor, Walter Murch – whose work you are familiar with if you’ve ever watched Apocalypse Now, Ghost or The English Patient.

Now there’s no question that Murch’s credentials as far as the art form of cinematic editing is beyond reproach. But in a recent letter to Ebert, he goes way beyond a critique of 3D from the perspective of editing, citing biological arguments against the format such as:

[…] the “CPU” of our perceptual brain has to work extra hard, which is why after 20 minutes or so many people get headaches. They are doing something that 600 million years of evolution never prepared them for.

He’s referring to the process by which our eyes must try to converge on two different focal lengths in rapid succession. Now he may very well be right that this is the component of 3D that has caused undesirable effects amongst some viewers, but to claim that our very biology isn’t up to the task because of how we’ve evolved strikes me as a reach.

I get that Ebert hates 3D – heck I even agree with some of the points he’s made in the past – and I get that Murch isn’t impressed by it either, but I’m not buying the so-called scientific explanation as to why it sucks. Read the full post and see if you’re on-board or not.

Next: A new report suggests that this is the year we will see Blu-ray players for as little as $40 and 42″ LCD HDTVs coming in at under $300. Despite the fact that these devices will likely not support advanced features such as 3D, Wi-Fi or streaming, those are nonetheless stunning price points. It looks like 2011 will be the year that fantastic picture quality will be within reach of nearly every economic group in the West.

Finally, Pioneer and Sharp have announced that they will be creating a new line of LCD HTDVs that will bear the “Elite” badge – a marque that hasn’t graced a TV display since Pioneer discontinued its production of plasma panels last year. But this new venture, rather than being a rebirth of the TVs that earned CNET’s highest rating of any HDTV, appears to be at best a new line of LCD’s from Sharp with Pioneer’s Elite designation and at worst, nothing more than a re-badging of Sharp’s existing line-up of high-end models.

At first it might seem that this is a dig at Sharp. It isn’t. I’ve had the chance to audition their latest line-up of Quattron 3D TVs and I was duly impressed by their image quality and feature set. They’re good TVs. But they aren’t plasma and they aren’t Pioneer units – in short, they aren’t “Elite”. Now I realize I should withhold final judgement until I see the new Elites in the flesh, but I am (as you can tell)  highly skeptical. I’m also a little stunned that Pioneer – a company that put plasma on the map – has decided to back LCD as a display technology after all this time. I would have much preferred that they partner with Panasonic, a company that has stayed the course on plasma and has inherited Pioneer’s HDTV crown as a result. Perhaps Pioneer believed that LCD will eventually eclipse plasma as the best display technology, or maybe they’re just looking for a more cost-effective way to re-enter the TV business without having to actually make their own glass. Either way, I worry that the Elite marque – so long a pinnacle of quality in the A/V space – will be diminished by this move.

Original post here: http://www.sync-blog.com/sync/2011/01/a-strange-week-for-3d-and-tv.html

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Specification for Naming VFX Image Sequences Released

ETC’s VFX Working Group has published a specification for best practices naming image sequences such as plates and comps. File naming is an essential tool for organizing the multitude of frames that are inputs and outputs from the VFX process. Prior to the publication of this specification, each organization had its own naming scheme, requiring custom processes for each partner, which often resulted in confusion and miscommunication.

The new ETC@USC specification focuses primarily on sequences of individual images. The initial use case was VFX plates, typically delivered as OpenEXR or DPX files. However, the team soon realized that the same naming conventions can apply to virtually any image sequence. Consequently, the specification was written to handle a wide array of assets and use cases.

To ensure all requirements are represented, the working group included over 2 dozen participants representing studios, VFX houses, tool creators, creatives and others.  The ETC@USC also worked closely with MovieLabs to ensure that the specification could be integrated as part of their 2030 Vision.

A key design criteria for this specification is compatibility with existing practices.  Chair of the VFX working group, Horst Sarubin of Universal Pictures, said: “Our studio is committed to being at the forefront of designing best industry practices to modernize and simplify workflows, and we believe this white paper succeeded in building a new foundation for tools to transfer files in the most efficient manner.”

This specification is compatible with other initiatives such as the Visual Effects Society (VES) Transfer Specifications. “We wanted to make it as seamless as possible for everyone to adopt this specification,” said working group co-chair and ETC@USC’s Erik Weaver. “To ensure all perspectives were represented we created a team of industry experts familiar with the handling of these materials and collaborated with a number of industry groups.”

“Collaboration between MovieLabs and important industry groups like the ETC is critical to implementing the 2030 Vision,” said Craig Seidel, SVP of MovieLabs. “This specification is a key step in defining the foundations for better software-defined workflows. We look forward to continued partnership with the ETC on implementing other critical elements of the 2030 Vision.”

The specification is available online for anyone to use.

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